The sense of loss and longing becomes so physical at points that rather than respond, it's simpler to go with it until the ride ends in a drained silence. [#219, p.72]

As half-familiar figures and distorted memories of long forgotten acid mood jams drift in and out of view, one is reminded that sometimes the most exotic species are those living in our own minds. [Sep 2016, p.50]

Kamaru expertly composes in a broad field. The sounds he favours are expansive on their own, but together they narrate an impossibly vast space, offering a lingering glimpse into the composer's ability to work within constraints. [Mar 2026, p.52]

Mandel's combination of virtuosity, shopworn aesthetics and lustful neediness is ultimately winning. [Jan 2017, p.73]

The [guest] musicians have the good sense to know when to let Chesnutt's dry-leaf vocals and muted acoustic guitar carry the songs, and when to swell up and bring heightened Gothic intensity to the feelings of melancholy and dread. [Oct 2007, p.55]

This is a beautiful record, but I wish it had a little more chaos in it. [Oct 2008, p.58]

As interesting for what it carries over from the past as for the future it foreshadows. [Feb 2013, p.47]

Refusing facsimile, Galás’s music attains its weight and power not from its oddity but from its humanity. [Apr 2017, p.53]

Flamagra is still more accessible than either Quiet or Dead! and this is most likely due to Ellison’s choice of vocal collaborators. [Jul 2019, p.49]

Micachu & the Shapes have yet to blunt their edge. [Jul 2012, p.60]

John Foxx’s last few records have been both a late career second wind and a shameless romp through 20th century art rock tropes – but here it’s done with a level of glee and fuck-it energy that makes even the obvious references hard to resist. [Sep 2020, p.64]

The refreshing result being space music that is neither soporific nor dystopian. [July 2013, p.54]

Earl has delivered a remarkably clear and impressive record. [Sep 2016, p.52]

The entirely instrumental Deep Fried Grandeur is too cohesive to be a mere jam, and even though Walker’s bandmates – drummer Frank Rosaly, bassist Andrew Scott Young, and guitarist Brian Sulpizio – are skilled improvisors, the performance remains centred by rock pulses throughout. [Mar 2021, p.60]

Gabriel’s not trying to be clever here, he’s being sincere. And because I favour savoury over sweet, I can strongly recommend the Dark-Side Mix which has more room to breathe, a fatter bottom end and weirder edges all round. [Jan/Feb 2024, p.84]

His whispery delivery on "Sonkind" over buzzsaw synths evokes Nine Inch Nails, and Monstera Black's sweetly resigned vocals on "Rabbit Hole" hit like a lullaby in an abattoir simulator. "During Elevation" is punctuated by the throat-catch of tears but somehow, it's all still squelchy, pounding good fun. [Nov 2023, p.63]

London based trio The Comet Is Coming unleash their finest yet, letting rave electronics, jazz funk and a dancefloor directed low end meet and mingle and mash, again suffusing everything with a positivist but markedly apocalyptic mysticism. [Jan 2020, p.71]

Sunn O))) tend to proceed like a river frozen down to glacial subsonics, or molten rock creeping slowly across parched land, and have referred to the processes of nature in their work before. Here, however, they feel directly linked to some universal essence of landscape. [May 2026, p.57]

Deerhoof are as playful, inventive and delightful as ever. [May 2025, p.63]

With its crashing together of narcotic pop, serialism and motorik rock, Find Me Finding You is in a similar mould to Sadier’s compatriot Pierre Henry’s concrète pop nugget Psyche Rock. Or, closer to home, Stereolab. [Apr 2017, p.55]

Slikback pours the joy of a new marriage and baby into this collection of chaotic and innovative tunes. [Sep 2025, p.58]

False Idols could be seen as a retreat to his comfort zone, a style he's already mastered, But the terrain he staked out during his days in The Wild Bunch, and later with Massive Attack, was far more fertile than many give it credit for, and its influence resonates through a spectrum of subsequent subgenres. [Jun 2013, p.55]

Da Mind of Traxman Vol 2's density feels cryptic, a series of questions posed to listeners and the floor. [Jun 2014, p.57]

Sadier's faith in the replenishing properties of silence has reactivated her production line of perfect pop miniatures. [Jul 2012, p.62]

The results are deceptively impressive. [Sep 2016, p.54]

The songs have an irresistible quality of self-reflection. [Oct 2016, p.60]

What's so delightful is how everything instantly clicks back into place for the listener who is familiar with Dab's work, how accessible and pleasurable his sound is for anyone coming to it for the first time. [Mar 2018, p.46]

In truth, what World most resembles is Mclusky circa 2002 – the same explosive energy, the same alarming imagery and sarcastic tone, but directing their exasperations in different directions. [May 2025, p.56]